Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Guatemala and from Mumbai.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1965 to 1971.
I'm losing my edge.
To all the kids in Paris and Houston.
I'm losing my edge to the art-school Tehran kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1977 at the first Human League practice in a loft in Sheffield.
I was working on the synthesizer sounds with much patience.
I was there when Michael McDonald started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Eric Copeland to the electroclash kids.
I played it at the Spitz.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Moebius. All the underground hits.
All Mark Hollis tracks. I heard you have a vinyl of every Bauhaus record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an organ and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Nils Olav record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dr. Dre and Snoop Doggy Dog,
Crispian St. Peters,
The Monochrome Set,
Niagra,
Index,
Boogie Down Productions,
FM Einheit,
Chris & Cosey,
Gregory Isaacs,
Louis and Bebe Barron,
Sonny Sharrock,
Wighnomy Brothers & Robag Wruhme,
The Electric Prunes,
Jesper Dahlbäck,
The Standells,
Radiohead,
Ponytail,
Strawberry Alarm Clock,
Pharoah Sanders,
Michelle Simonal,
Gang Starr,
Rites of Spring,
Gerry Rafferty,
Radiopuhelimet,
Maleditus Sound,
Ultramagnetic MC's,
Man Parrish,
Andrew Ashong & Theo Parrish,
Fatback Band,
E-Dancer,
The Vogues,
The Gap Band,
Tim Buckley,
Marmalade,
Marcia Griffiths,
Skriet,
Talk Talk,
David McCallum,
Young Marble Giants,
The Doobie Brothers,
Ronan,
Drive Like Jehu,
Deepchord,
Terrestrial Tones,
Animal Collective,
Ohio Players,
Suburban Knight,
The Tremeloes,
Tomorrow,
The Litter,
Flamin' Groovies,
Scan 7,
John Lydon,
The Star Department,
The Gun Club,
Japan,
Barclay James Harvest,
Gian Franco Pienzio,
Cluster,
Bill Wells,
Adolescents,
Nas, Nas, Nas, Nas.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.